Discourse: Berkeley Journal for Theoretical Studies in Media and Culture, Bindi 5-8Indiana University Press, 1987 |
From inside the book
Niðurstöður 1 - 3 af 62
Síða 52
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) and the characteristic of the Eisensteinian frag- ment is here , precisely ...
... precisely , its relationship to what it is made out of ( what is sometimes called the " profilmic " 12 ) . Here it is a question of shooting ( prise de vue ) and the characteristic of the Eisensteinian frag- ment is here , precisely ...
Síða 56
... precisely , since he calls and will , toward the end of his life , call repeat- edly for a view of creation as " spontaneity overflowing with joie de vivre , " it is the expression of his absolute mastery . He is the Mozart of the ...
... precisely , since he calls and will , toward the end of his life , call repeat- edly for a view of creation as " spontaneity overflowing with joie de vivre , " it is the expression of his absolute mastery . He is the Mozart of the ...
Síða 77
... precisely all the processes against which the idea of attraction , in all its violence , was conceived , this , Eisenstein tells us , is a simple tactical ruse , the processes in question being in fact submitted to a real " diversion ...
... precisely all the processes against which the idea of attraction , in all its violence , was conceived , this , Eisenstein tells us , is a simple tactical ruse , the processes in question being in fact submitted to a real " diversion ...
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Achternbusch Alexander Kluge Anastasia avant-garde body Buenos Aires Cabaret Cahiers du cinéma camera character classical concept context contradiction critical critique culture desire dialectical diegesis diegetic discourse documentary dominant effect Eisenstein Eisensteinian enunciation Euphrosinia example Fassbinder Fassbinder's female feminism feminist fiction figure film theory film's filmic filmmakers fragment frame function gaze German Cinema Germany in Autumn Godard Helke Sander Herbert Achternbusch idea identification identity ideological imaginary India Cabaret Indian Ivan Ivan's Kaja Silverman Kluge Lacan language Laura Mulvey Lili Marleen look male meaning metaphor Milena montage movement narrative narrator notion opposition organicism political Porteño position precisely present produce public sphere question relation relationship representation Roswitha scene sequence sexual difference shot signifier social sound space speak spectator speech story structure Subjective Factor symbolic tango television theme theoretical tion tive viewer visual voice voice-over woman women word writing